Revelation 3

Which worship songs are based on Revelation 3?

I Belong To Jesus (Dylan's Song) [Live] — Brooke Ligertwood (2022) Revelation 3:5
The opening image of the singer's name recorded in the book of life directly invokes Revelation's register of those who belong to Christ.
Only the Son (Yeshua) (Doug Weier remix) — Newsboys (2019) Revelation 3:7
The chorus combines Revelation’s portrayal of Jesus as sovereign over earthly kings with its images of Christ possessing keys and standing at a door. The song adapts these symbols into a personal image of Christ having rightful access to the heart.
Amaram Onyewem (Live) — Mercy Chinwo & Pastor Jerry Eze (2024) Revelation 3:7-8
The song explicitly identifies the church in Philadelphia and reproduces Christ's message about its limited strength, faithfulness to his word, and the divinely opened door before it.
O Come, O Come, Emmanuel — John Van Deusen (2022) Revelation 3:7
Christ is invoked through the Davidic key title and the corresponding authority to open what cannot otherwise be opened.
Million Little Miracles — Elevation Worship (2021) Revelation 3:7-8
The description of God opening doors beyond anyone else's power to close closely paraphrases Christ’s message to the church in Philadelphia, where his sovereign authority is pictured through an irrevocably opened door.
O Come O Come Emmanuel — Maverick City Music & Naomi Raine & Nate Moore (2020) Revelation 3:7
Christ is addressed as the holder of David’s key and described as opening access while closing the way to ruin, reflecting the unique authority to open and shut attributed to him in Revelation.
Poppin - Remix — Bizzle (2024) Revelation 3:9
The second verse directly uses Revelation’s designation for people who falsely claim covenant identity while opposing Christ’s faithful community.
Step Up — Papa San & Da' T.R.U.T.H. (2014) Revelation 3:11
The bridge closely adapts Jesus’ exhortation to hold firmly to faith so that no one takes the believer’s crown. Its encouragement to persevere reinforces this specific connection.
Break — Hostyle Gospel (2013) Revelation 3:15-16
The warning against spiritual lukewarmness unmistakably invokes Jesus' rebuke of the Laodicean church.
Grey — BarlowGirl (2009) Revelation 3:15-16
The opening's three-way contrast of spiritual temperatures unmistakably invokes Christ's rebuke of the lukewarm church at Laodicea. The song applies this image to compromised convictions and spiritual indifference.
Somewhere in the Middle — Casting Crowns (2007) Revelation 3:15-16
The opening temperature contrast places the speaker between spiritual extremes, invoking Christ’s warning to the Laodicean church against lukewarmness. The song’s examination of compromised commitment reinforces this specific connection.
Maranatha (Live From Passion 2022) — Passion (2022) Revelation 3:15-16
The request for lukewarm devotion to become fervent directly invokes Christ’s warning to the church at Laodicea about its spiritual temperature.
Menorah — Jackie Hill Perry & nobigdyl. (2025) Revelation 3:15-16
The description of being neither hot nor cold and therefore expelled from Christ’s mouth directly invokes the warning to the church in Laodicea.
All the Way — Bryson Gray (2023) Revelation 3:15-16
The chorus invokes Christ’s warning to the Laodicean church that spiritual lukewarmness leads to rejection. It applies that warning to divided or halfhearted allegiance.
The Nu Revolution — Mike Teezy (2021) Revelation 3:15-16
The warning that a person must be spiritually hot or face being expelled unmistakably reworks Christ’s rebuke of the lukewarm church at Laodicea.
Stay With God — Bryson Gray (2020) Revelation 3:15-16
The description of professing Christians as lukewarm invokes Christ's rebuke of the church in Laodicea for being neither cold nor hot.
False Teachers — Bryson Gray (2020) Revelation 3:15-16
The song names the passage and applies Christ's warning to Laodicea, including the image of rejecting those who are spiritually lukewarm.
Pick Up the Phone — Bryson Gray (2020) Revelation 3:15-16
The warning that God rejects lukewarm Christians directly invokes Christ’s message to the church in Laodicea, including the image of expelling the lukewarm from his mouth.
Take Me Back — DOE (2022) Revelation 3:15-16
The confession of remaining spiritually between hot and cold directly invokes Christ’s warning to the lukewarm church at Laodicea.
Losing Battles — Bryson Gray (2023) Revelation 3:15-16
The description of compromised believers as lukewarm unmistakably invokes Christ’s rebuke of the Laodicean church for being neither hot nor cold.
Get Up — Building 429 (2013) Revelation 3:17
The combination of spiritual blindness, nakedness, and unrecognized need closely echoes Christ's rebuke of the complacent church in Laodicea.
Closer — John Mark McMillan (2012) Revelation 3:17
The outro closely adapts the threefold description of deprivation in Jesus' rebuke to the Laodicean church. Whereas the church fails to recognize its condition, the singer acknowledges that condition as grounds for seeking Jesus.
Uncomfortable — Jackie Hill Perry & Trey Heflin (2025) Revelation 3:17
The contrast between considering oneself wealthy and actually being wretched closely reflects Christ’s diagnosis of the self-satisfied Laodicean church.
The Voice of Jesus — Andrew Peterson (2012) Revelation 3:20
The image of Jesus knocking at an inward door and inviting the listener to open it closely adapts Christ's invitation to hear his voice and open the door. The song personalizes the passage through the familiar image of the heart as that doorway.
Human Nature — Brandon Heath (2022) Revelation 3:20
The repeated invitation to open a door to the Savior, followed by the statement that he is knocking, unmistakably adapts Christ's appeal to the church at Laodicea.
Reborn — Avalon (2009) Revelation 3:20
The divine visitor knocking at the speaker's door unmistakably recalls Christ's invitation to open the door and receive him. The song applies this image to personal surrender and conversion.
Heart Runs — John Mark McMillan (2014) Revelation 3:20
The portrayal of the divine addressee knocking at the singer's door closely echoes Christ's appeal to the church at Laodicea, where he stands at the door seeking entry.
Turn On The Light — Big Daddy Weave (2019) Revelation 3:20
The repeated image of opening an interior door and allowing the Lord to enter strongly evokes Christ standing at the door and promising fellowship with the person who opens it.
Crazy Love (Acoustic Set) - Live — Maverick City Music & JWLKRS Worship (2025) Revelation 3:20
The bridge presents divine love as persistently knocking and awaiting admission, closely evoking Christ's appeal to the church at Laodicea to open the door to him.
The Moment — Tasha Cobbs Leonard (2022) Revelation 3:20
The depiction of Jesus knocking and the appeal to open oneself to him directly paraphrase Christ's call to open the door and receive him.
I Want To Tell You A Story — Brian Free & Assurance (2010) Revelation 3:20
The bridge depicts Christ seeking entry through knocking and invites the listener to respond. This adapts the passage’s doorway imagery into a personal invitation to conversion, although the original addresses the church at Laodicea.
You’re Welcome Here — Kelly Willard (2012) Revelation 3:20
The opening directly adapts Christ’s image of standing at a door and knocking. The subsequent invitation for Jesus to enter and remain develops the passage’s promise of fellowship with whoever hears and welcomes him.
True Religion — J. Monty (2024) Revelation 3:20
The warning that the Lord is at the door closely evokes Christ’s appeal to the Laodicean church.
Lover Of My Soul — TAYA (2023) Revelation 3:20
The opening depicts Christ standing at the heart's door, knocking and awaiting admission, closely adapting his invitation to the Laodicean church.
Hold Us Together — Matt Maher (2010) Revelation 3:20
Love is personified as a visitor waiting and knocking at the listener's door, closely echoing Christ's invitation in Revelation. The song adapts that recognizable image without explicitly identifying the visitor as Christ.
I Want in That Place — ApologetiX (2010) Revelation 3:20
The song explicitly names Revelation 3 and depicts Christ knocking and seeking entry. It personalizes Christ’s invitation to the church at Laodicea as a request for access to the singer’s heart.
Just Like That — Behold the Beloved (2022) Revelation 3:20
The second verse closely follows Christ's invitation in Revelation 3:20 by depicting him calling, knocking at a door, and awaiting a personal response.
Evermore — Chuck Girard (2010) Revelation 3:20
The singer describes welcoming God through a door, echoing Christ’s invitation to open the door and receive him. The image frames conversion as a personal response to Christ’s offered presence.
Someone's At The Door — Nathaniel Bassey (2024) Revelation 3:20
The song closely reworks Jesus’ appeal to the Laodicean church, depicting him standing outside, knocking and calling, while urging the hearer to open the door and receive him.
Lovesick (Over And Over Again) - Live — Housefires & Kirby Kaple & Tony Brown (2020) Revelation 3:20
The recurring image of divine love knocking at a door strongly evokes Christ standing at the door and seeking entry. The song adapts that image to emphasize the patience and persistence of his invitation.
Quest — John Waller (2009) Revelation 3:20
The bridge depicts Jesus waiting at the listener’s door, recalling Revelation’s image of Christ standing at a door and inviting a personal response. The song adapts that image into an invitation to recognize the nearness of the person being sought.
969 — ApologetiX (2022) Revelation 3:20
The recurring depiction of the Lord standing at a person's door and knocking unmistakably invokes Christ's appeal to the church at Laodicea.
My Heart Your Home (feat. Alton Eugene & Chandler Moore) — Maverick City Music & Chandler Moore & Alton Eugene (2020) Revelation 3:20
The depiction of Christ knocking at a person’s door and awaiting admission is an unmistakable paraphrase of Christ’s appeal to the Laodicean church.
Hear That Knock — John Pape (2023) Revelation 3:20
The chorus presents Jesus knocking and calls the hearer to open the door and receive him, closely paraphrasing Christ’s appeal to the church at Laodicea.
Do You Know — Michelle Williams (2007) Revelation 3:20
The bridge depicts Christ knocking at a door and invites the listener to welcome him, unmistakably adapting Revelation’s image of Christ seeking entry. The song applies that image to personal receptivity to God.
The Heart — Jackie Hill Perry (2025) Revelation 3:20
The portrayal of Christ knocking at a hardened inner house while awaiting the occupant's consent closely reworks Revelation's image of Christ standing at the door and knocking.
Resurrection Blood — Cody Carnes (2017) Revelation 3:20
The opening verse depicts Jesus knocking and the singer responding to his call, clearly invoking Christ's invitation at the door in Revelation.
Christmas Eve In Bethlehem — Hannah Kerr (2020) Revelation 3:20
The image of Christ knocking and awaiting either admission or rejection closely paraphrases the appeal of Revelation 3:20. The song places that invitation within an expectation of Christ’s return.
Son of Heaven (Live) — Brandon Lake (2021) Revelation 3:20
The image of the Savior standing at a door, knocking, and awaiting admission directly draws from Christ’s appeal to the church at Laodicea.
Found God — ApologetiX (2010) Revelation 3:20
Christ's arrival as one who knocks and is welcomed inside unmistakably evokes the image of Jesus standing at the door and entering when someone opens it.
Oi, Jesus 2 - Ao Vivo — Isadora Pompeo (2025) Revelation 3:20
The household imagery of granting Jesus access, inviting him in, and experiencing his continued presence evokes Christ’s promise to enter and remain in fellowship with the person who opens to him.
Prepare Him Room — Sovereign Grace Music (2014) Revelation 3:20
Christ's knocking and the appeal to receive him evoke his address to the church in Laodicea, where he stands outside seeking entry. The song combines this image with Bethlehem's unavailable lodging.
Kling Glöckchen — Kidz Bop Kids (2020) Revelation 3:20
The visitor waits outside and asks the children to open both their home and their hearts so that the visitor may enter and remain within. This closely evokes Christ’s appeal at the door in Revelation, though the song substitutes a ringing bell for knocking.
Beautiful Exchange — Hillsong Worship (2010) Revelation 3:20
The opening depicts Christ waiting outside a door and the worshipper admitting him. This closely recalls Christ's invitation to open the door and receive him in his message to the church at Laodicea.
Son of Heaven — Brandon Lake (2020) Revelation 3:20
The image of the Savior standing at each door, knocking, and waiting to be admitted closely paraphrases Christ's appeal to the church at Laodicea.
Go Witness — ApologetiX (2020) Revelation 3:20
The depiction of Christ knocking at a person’s door unmistakably draws on Jesus’ appeal to the church at Laodicea, though the song adapts the image into a summons to evangelize.

Revelation 3 (King James Version)

¹ And unto the angel of the church in Sardis write; These things saith he that hath the seven Spirits of God, and the seven stars; I know thy works, that thou hast a name that thou livest, and art dead.

² Be watchful, and strengthen the things which remain, that are ready to die: for I have not found thy works perfect before God.

³ Remember therefore how thou hast received and heard, and hold fast, and repent. If therefore thou shalt not watch, I will come on thee as a thief, and thou shalt not know what hour I will come upon thee.

⁴ Thou hast a few names even in Sardis which have not defiled their garments; and they shall walk with me in white: for they are worthy.

⁵ He that overcometh, the same shall be clothed in white raiment; and I will not blot out his name out of the book of life, but I will confess his name before my Father, and before his angels.

⁶ He that hath an ear, let him hear what the Spirit saith unto the churches.

⁷ And to the angel of the church in Philadelphia write; These things saith he that is holy, he that is true, he that hath the key of David, he that openeth, and no man shutteth; and shutteth, and no man openeth;

⁸ I know thy works: behold, I have set before thee an open door, and no man can shut it: for thou hast a little strength, and hast kept my word, and hast not denied my name.

⁹ Behold, I will make them of the synagogue of Satan, which say they are Jews, and are not, but do lie; behold, I will make them to come and worship before thy feet, and to know that I have loved thee.

¹⁰ Because thou hast kept the word of my patience, I also will keep thee from the hour of temptation, which shall come upon all the world, to try them that dwell upon the earth.

¹¹ Behold, I come quickly: hold that fast which thou hast, that no man take thy crown.

¹² Him that overcometh will I make a pillar in the temple of my God, and he shall go no more out: and I will write upon him the name of my God, and the name of the city of my God, which is new Jerusalem, which cometh down out of heaven from my God: and I will write upon him my new name.

¹³ He that hath an ear, let him hear what the Spirit saith unto the churches.

¹⁴ And unto the angel of the church of the Laodiceans write; These things saith the Amen, the faithful and true witness, the beginning of the creation of God;

¹⁵ I know thy works, that thou art neither cold nor hot: I would thou wert cold or hot.

¹⁶ So then because thou art lukewarm, and neither cold nor hot, I will spue thee out of my mouth.

¹⁷ Because thou sayest, I am rich, and increased with goods, and have need of nothing; and knowest not that thou art wretched, and miserable, and poor, and blind, and naked:

¹⁸ I counsel thee to buy of me gold tried in the fire, that thou mayest be rich; and white raiment, that thou mayest be clothed, and that the shame of thy nakedness do not appear; and anoint thine eyes with eyesalve, that thou mayest see.

¹⁹ As many as I love, I rebuke and chasten: be zealous therefore, and repent.

²⁰ Behold, I stand at the door, and knock: if any man hear my voice, and open the door, I will come in to him, and will sup with him, and he with me.

²¹ To him that overcometh will I grant to sit with me in my throne, even as I also overcame, and am set down with my Father in his throne.

²² He that hath an ear, let him hear what the Spirit saith unto the churches.